`Sweeney Todd'

When is a musical a surefire classic? When it keeps being revived? Sort of. Performed in an opera house? Very likely. Completely rethought by a director and coming across almost totally new? Definitely.

This is the case with the new version of Stephen Sondheim's ``Sweeney Todd,'' imported from England (though now with an American cast) at the Eugene O'Neill Theatre. John Doyle, who conceived, designed and directed it, has been the artistic director of various British regional theaters. Manifestly, he was obliged to do ``Sweeney'' with fewer performers, much less scenery, in a smaller theater on a more modest budget.

Earlier attempts at economizing foundered on trying to miniaturize Harold Prince's large-scale original Broadway production -- rather like a provincial circus, lacking an elephant, pressing into service a cow bedizened with a papier mache trunk and tusks.

Red for Murder

There was always that hand-me-down look, which Doyle strove to avoid. So, first off, he rethought the show with a cast of ten, all of whom could, besides singing and acting, play one or more instruments, obviating an orchestra. So he got Sarah Travis to deftly reorchestrate the score for such a multitasking ensemble.

Next, he and his lighting designer, Richard G. Jones, devised a set that is mostly one huge grid or vertical latticework -- slats all the way up -- with light coming through the chinks full force, dimmed or, for the murders, red.

On the middle part of the grid, likewise stretching all the way up, they placed shelving, stacked with a multitude of objects suggestive of everyday life, some lighting up when mentioned in the plot. They also created a multipurpose platform and a similarly versatile coffin. Finally, the costumes were unobtrusively modernized. Much of the action, of course, had to be stylized rather than naturalistic. And, miracle of miracles, it works.

With Michael Cerveris (the scariest and most suffering Sweeney yet) and Patti LuPone (as you have never seen or heard her before) in the leads, the entire cast works vocal, histrionic and instrumental wonders. It undeniably helps a bit if you are familiar with the plot; but, apart from that, this is a triumph for all concerned.

To contact the writer of this review: John Simon at jis1925@aol.com.
Last Updated: November 4, 2005 00:07 EST